George Benson the Other Side of Abbey Road Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

George Benson the Other Side of Abbey Road Mp3, Flac, Wma George Benson The Other Side Of Abbey Road mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: The Other Side Of Abbey Road Country: Greece Style: Soul-Jazz, Jazz-Funk MP3 version RAR size: 1135 mb FLAC version RAR size: 1448 mb WMA version RAR size: 1228 mb Rating: 4.9 Votes: 293 Other Formats: VOC DTS MIDI AAC AUD AC3 MP4 Tracklist Hide Credits Golden Slumbers A1 2:35 Written-By – Lennon-McCartney You Never Give Me Your Money A2 3:07 Written-By – Lennon-McCartney Because / Come Together A3 7:35 Written-By – Lennon-McCartney Oh! Darling A4 3:55 Written-By – Lennon-McCartney Here Comes The Sun B1 2:25 Written-By – George Harrison I Want You (She's So Heavy) B2 6:20 Written-By – Lennon-McCartney Something / Octopus's Garden B3 Written-By [Octopus´s Garden] – Richard StarkeyWritten-By [Something] – George 4:30 Harrison The End B4 1:55 Written-By – Lennon-McCartney Credits Alto Saxophone – Sonny Fortune Arranged By – Don Sebesky Baritone Saxophone – Don Ashworth Bass – Jerry Jemmott, Ron Carter Bass Clarinet – Don Ashworth Cello – George Ricci Clarinet – Jerome Richardson Design [Album] – Sam Antupit Drums – Ed Shaughnessy, Idris Muhammad Engineer – Rudy Van Gelder Flute – Hubert Laws, Jerome Richardson Flute [Also Oboe] – Phil Bodner Guitar – George Benson Percussion – Andy Gonzalez, Ray Barretto Photography By – Eric Meola Piano, Organ, Harpsichord – Bob James, Ernie Hayes, Herbie Hancock Producer – Creed Taylor Tenor Saxophone – Jerome Richardson Trombone, Euphonium – Wayne Andre Trumpet – Freddie Hubbard Trumpet, Flugelhorn – Bernie Glow, Marvin Stamm, Mel Davis Viola – Emanuel Vardi Violin – Max Pollikoff, Raoul Poliakin Notes An early 70's reissue with light brown labels All songs titles normal sized under central hole Recorded at Van Gelder Studios. Rudy Van Gelder, Engineer Recorded October 22, 23; November 4,5, 1969 Herbie Hancock appears through the courtesy of Warner Bros. Records Barcode and Other Identifiers Matrix / Runout (Side A runout): A&M SP 3055 RE-1 M1 -RepL Δ17479 Greece Matrix / Runout (Side B runout): A&M SP 3056 RE-1 M1 -RepL Δ17479X Greece Matrix / Runout (Side A Label): SP 3028 / SP 3028-A Matrix / Runout (Side B Label): SP 3028 / SP 3028-B Other versions Category Artist Title (Format) Label Category Country Year The Other Side Of George SP-3028 Abbey Road (LP, A&M Records SP-3028 US 1970 Benson Album, Gat) The Other Side Of George SP-3028 Abbey Road (LP, A&M Records SP-3028 US Unknown Benson Album, RE, Gat) The Other Side Of George A&M Records, SP-3028 Abbey Road (LP, SP-3028 US 1972 Benson CTI Records Album, RE) The Other Side Of George SA&M 2061 Abbey Road (LP, A&M Records SA&M 2061 Brazil 1970 Benson Album) The Other Side Of PGP RTB, LP 5924, SP George LP 5924, SP Abbey Road (LP, A&M Records, Yugoslavia 1978 3028 Benson 3028 Album) CTI Records Related Music albums to The Other Side Of Abbey Road by George Benson Toy - Lennon Or McCartney Barbara Dickson - Nothing's Gonna Change My World: The Songs Of Lennon, McCartney And Harrison Firefall Acoustic - Colorado To Liverpool - A Tribute To The Beatles Garganta Profunda - Garganta Canta Beatles Ao Vivo The Beatles - She Loves You Nicotine - Hey Dude! We Love The Beatles!!! The Beatles - 1962-1966 The Beatles - 20 Golden Hits The Beatles - 1967-1970 The Beatles - Abbey Road.
Recommended publications
  • The Waynowne
    ..,..', ~, ','.,; t , -i' PrOptHiyof r I j'" , '~OG The,'>, ';:WaynowNE" , $l~gie Copy 7. 5¢ Sections - 4' "., Pages': 3~ ." J " .J , ' , Thursday, 'A~gust 13, 2009 133rd Year - No. 47 ,; " , ' ' "C' ',' '.,.' ' " j" , . "',, F;,'\';: • , ,".>,. " Wqyne's 196th birtnday cele~r(ltzona bighit, Teachers~ agreement.] is"approved By Lynn Sievers Of the Berald " " . The Wayne Community School's Board of Education met in regular$eS$ion Monday night, The f009-201Q negotiated agree­ ment between, the school board andLhe WEA (Wayne Education As~ociation) was discussed. 'School board member Rod Garwood made a motion to approve' the negotiated agreement pending approval of the teaching staff, board member Dr. Jeryl Nelson seconded the motion which passed unanimously. Among routine business reports and actions was the resignation of Kay Doin,~~h as full time kitchen staff and the hiring of Pam Ekberg for the position. School board member 'Mark Evetovich made a motion to approve the hiring of Ekberg, Wendi Consoli seconded the motion which passed unanimously. i Evetovich made a motion to approve the financial claims, Consoli seconded the motion which passed unanimously. MUo Meyer ConstructIon's gift of dirt work in the parking expansion project (Photos by Clara Osten behind the high school was recognized. The and Michael Carnes) city's concrete work for the parking area was also noted. Whether it was Cathy Var­ Administration reports were discussed. ley winning the Jaycees' Wayne High principal Mark Hanson gave Kiss The Pig contest, get­ the board information on a problem some ting your hand (and ev­ schools across the nation are having on sex­ erything else) dirty in ting, which is students sending classmates mud volleyball dr'showing , inappropriate photos via cellphones.: Be off your best beard and wanted the board to be aware of the term mustache, Wayne's Q-125 and activity and that it has been addressed celebration had plenty of in the student handbook Middle School principal Tim Krupicka good times to offer.
    [Show full text]
  • The Singing Guitar
    August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • Published Sheet Music from the Rudy Vallee Collection
    Published Sheet Music from the Rudy Vallee Collection The Rudy Vallee collection contains almost 30.000 pieces of sheet music (about two thirds published and the rest manuscripts); about half of the titles are accessible through a database and we are presenting here the first ca. 2000 with full information. Song: 21 Guns for Susie (Boom! Boom! Boom!) Year: 1934 Composer: Myers, Richard Lyricist: Silverman, Al; Leslie, Bob; Leslie, Ken Arranger: Mason, Jack Song: 33rd Division March Year: 1928 Composer: Mader, Carl Song: About a Quarter to Nine From: Go into Your Dance (movie) Year: 1935 Composer: Warren, Harry Lyricist: Dubin, Al Arranger: Weirick, Paul Song: Ace of Clubs, The Year: 1926 Composer: Fiorito, Ted Arranger: Huffer, Fred Song: Ace of Diamonds, The Year: 1926 Composer: Fiorito, Ted Arranger: Huffer, Fred Song: Ace of Spades, The Year: 1926 Composer: Fiorito, Ted Arranger: Huffer, Fred K. Song: Actions (speak louder than words) Year: 1931 Composer: Vallee, Rudy; Himber, Richard; Greenblatt, Ben Lyricist: Vallee, Rudy; Himber, Richard; Greenblatt, Ben Arranger: Prince, Graham Song: Adios Year: 1931 Composer: Madriguera, Enric Lyricist: Woods, Eddie; Madriguera, Enric(Spanish translation) Arranger: Raph, Teddy Song: Adorable From: Adorable (movie) Year: 1933 Composer: Whiting, Richard A. Lyricist: Marion, George, Jr. Arranger: Mason, Jack; Rochette, J. (vocal trio) Song: African Lament (Lamento Africano) Year: 1931 Composer: Lecuona, Ernesto Lyricist: Gilbert, L. Wolfe Arranger: Katzman, Louis Song: African Lament (Lamento Africano)
    [Show full text]
  • Bob James Three Mp3, Flac, Wma
    Bob James Three mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Three Country: US Released: 1976 Style: Fusion MP3 version RAR size: 1301 mb FLAC version RAR size: 1416 mb WMA version RAR size: 1546 mb Rating: 4.5 Votes: 503 Other Formats: VQF MMF MP2 AA WAV AU ADX Tracklist Hide Credits One Mint Julep 1 9:09 Composed By – R. Toombs* Women Of Ireland 2 8:06 Composed By – S. Ó Riada* Westchester Lady 3 7:27 Composed By – B. James* Storm King 4 6:36 Composed By – B. James* Jamaica Farewell 5 5:26 Composed By – L. Burgess* Companies, etc. Phonographic Copyright (p) – Tappen Zee Records, Inc. Copyright (c) – Tappen Zee Records, Inc. Licensed From – Castle Communications PLC Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Remastered At – CBS Studios, New York Credits Bass – Gary King (tracks: 1, 2, 5), Will Lee (tracks: 3, 4) Bass Trombone – Dave Taylor* Bass Trombone, Tuba – Dave Bargeron Cello – Alan Shulman, Charles McCracken Drums – Andy Newmark (tracks: 1), Harvey Mason (tracks: 2 to 5) Engineer – Rudy Van Gelder Flute – Hubert Laws, Jerry Dodgion Flute, Tenor Saxophone – Eddie Daniels Guitar – Eric Gale (tracks: 2 to 4), Hugh McCracken (tracks: 2 to 4), Jeff Mironov (tracks: 1) Harp – Gloria Agostini Keyboards – Bob James Percussion – Ralph MacDonald Photography By [Cover] – Richard Alcorn Producer – Creed Taylor Remastered By – Stew Romain* Supervised By [Re-mastering] – Joe Jorgensen Tenor Saxophone, Soprano Saxophone, Tin Whistle – Grover Washington, Jr. Trombone – Wayne Andre Trumpet – John Frosk, Jon Faddis, Lew Soloff, Marvin Stamm Viola – Al Brown*, Manny Vardi* Violin – David Nadien, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Cykman, Lewis Eley, Matthew Raimondi, Max Ellen Notes Originally released in 1976.
    [Show full text]
  • DB Music Shop Must Arrive 2 Months Prior to DB Cover Date
    05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Bob James Heads Mp3, Flac, Wma
    Bob James Heads mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Heads Country: Mexico Released: 1977 Style: Jazz-Funk MP3 version RAR size: 1371 mb FLAC version RAR size: 1824 mb WMA version RAR size: 1445 mb Rating: 4.8 Votes: 542 Other Formats: APE WAV VQF MMF AHX VOC DMF Tracklist Hide Credits Heads Bass – Alphonso JohnsonClavinet, Electric Piano [Fender Rhodes], Piano, Synthesizer A1 6:40 [Oberheim Polyphonic], Bells [Oberheim Polyphonic Tinkle Bells] – Bob JamesDrums – Steve GaddWritten-By – Bob James We're All Alone Bass – Alphonso JohnsonDrums – Steve GaddElectric Piano [Fender Rhodes], Piano, A2 5:32 Synthesizer [Oberheim Polyphonic] – Bob JamesKeyboards [Acoustic Rhythm] – Richard TeeVibraphone [Vibes] – Michael Mainieri*Written-By – Boz Scaggs I'm In You Alto Saxophone [Alto Sax] – Dave Sanborn*Bass – Will LeeDrums – Alan A3 Schwartzberg*Electric Piano [Fender Rhodes], Synthesizer [Oberheim Polyphonic, Arp 6:47 Odyssey], Clavinet – Bob JamesGuitar – Jeff Layton, Jeff MironovWritten-By – Peter Frampton Night Crawler B1 Alto Saxophone [Alto Sax] – Dave Sanborn*Electric Guitar – Eric GaleElectric Piano 6:17 [Fender Rhodes], Synthesizer [Oberheim Polyphonic] – Bob JamesWritten-By – Bob James You Are So Beautiful Guitar – Eric GalePiano – Bob JamesSoprano Saxophone [Soprano Sax] – Grover B2 6:50 Washington, Jr.Vocals – Gwen Guthrie, Lani Groves, Patti Austin, Vivian CherryWritten-By – Billy Preston, Bruce Fisher One Loving Night Alto Saxophone [Alto Sax] – Dave Sanborn*Arranged By, Adapted By – Bob JamesPiano, B3 5:48 Harpsichord – Bob JamesRecorder [Sopranino] – George MargeTenor Saxophone [Tenor Sax] – Grover Washington, Jr.Written-By – Henry Purcell Companies, etc. Phonographic Copyright (p) – Tappan Zee Records, Inc. Copyright (c) – CBS Inc. Manufactured By – Columbia Records Manufactured By – CBS Inc.
    [Show full text]
  • Bob James Three Mp3, Flac, Wma
    Bob James Three mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Three Country: Japan Released: 1979 Style: Fusion MP3 version RAR size: 1638 mb FLAC version RAR size: 1116 mb WMA version RAR size: 1430 mb Rating: 4.5 Votes: 930 Other Formats: XM AAC VOC VQF DTS DMF WAV Tracklist Hide Credits One Mint Julep A1 9:04 Drums – Andy NewmarkGuitar – Jeff Mironov A2 Women Of Ireland 8:00 Westchester Lady B1 7:23 Bass – Will Lee Storm King B2 6:33 Bass – Will Lee B3 Jamaica Farewell 5:21 Companies, etc. Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Bass – Gary King (tracks: A1, A2, B3) Bass Trombone – Dave Taylor* Bass Trombone, Tuba – Dave Bargeron Cello – Alan Shulman, Charles McCracken Design [Album] – Rene Schumacher Drums – Harvey Mason (tracks: A2 to B3) Engineer – Rudy Van Gelder Flute – Hubert Laws, Jerry Dodgion Flute, Tenor Saxophone – Eddie Daniels Guitar – Eric Gale (tracks: A2 to B2), Hugh McCracken (tracks: A2 to B2) Harp – Gloria Agostini Keyboards – Bob James Percussion – Ralph MacDonald Photography By – Richard Alcorn Producer – Creed Taylor Tenor Saxophone, Tin Whistle – Grover Washington, Jr. Trombone – Wayne Andre Trumpet – John Frosk, Jon Faddis, Lew Soloff, Marvin Stamm Viola – Al Brown*, Manny Vardi* Violin – David Nadien, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Cykman, Lewis Eley, Matthew Raimondi, Max Ellen Notes Pressing variation with "Side 1 and 2" in upper left of labels. Bottom edge text includes "Unauthorized duplication is a violation of applicable laws". LP housed in company "CTI" sleeve. Recorded at Van Gelder Studios. ℗ 1976, Creed Taylor, Inc.
    [Show full text]
  • Morgenstern, Dan. [Record Review: Paul Desmond: Summertime] Down
    the most part routine. ..,; cal in effect, but the method was pretty There are two_ ~eally fine arrangements: ·. much one of intuitively combining already Games and Pattm, the latter a blues that ,_: existing things). • changes keys about 407 times, which tends ·1· In such an environment, talented musi­ to keep your ears open, then settles in to cians like Bradford and Carter could em­ provide Curtis with the kind of earthy Jazz ulate their idols (Fats Navarro and James background in which he is at his best. Moody, I would guess) and, as they ma­ Some of the other charts, however, dis­ BY tured, extend their initial inspirations into play an abysmal lack of taste. Somewhere novel areas. And feedback enters once (which it takes guts to perform as a again when Carter and Bradford were saxophone solo anyway, given Cannon­ MPS·SABAinfluenced in the '60s by Coleman's fully ball's definitive treatment of it) is set to developed music. for collectors & The result is that this group sounds an annoying ricky-tick rhythm which connoisseurs . • quite fresh and new; not because they are vitiates the tune's lyricism. Hold Me Tight from Germany, using new musical materials, but because, is real cutesie. And where Arif Mardin "the Jazz musician's like Coleman, they legitimately tap jazz came up with the brilliant idea of routin­ paradise!" roots and bring forth new relations between ing Jude as a Latin number is a real familiar things. puzzle. You can hear this in Bradford, espe­ In general, the album is good clean fun.
    [Show full text]
  • Morgenstern, Dan. [Record Review: Randy Weston: Blue Moses] 39:19 (November 23, 1972): 23–24
    - mic) already present in his music. RANDYWESTON which. paced by the extraordinary Billy Cob­ While these elements are always interesting ham. performs admirably. I have a feeling. BLUE MOSES - CTI 6016: lfrane; Ganawa; and certainly inextricably from the whole of however. that the the percussion (notably Az­ Night in Medina; Ma_rrakesh Blues. , Weston's music. it continues to be marked by Personnel: Freddie Hubbard. trumpet; Grover zedin Weston's exciting conga work) was Washington. Jr .. tenor sax; Hubert Laws. flutes; a very personal and very strong melodic mixed down a bit too much-certainly it plays Weston. piano; Ron Carter or Bill Wood (track_ 3). sense. Inspired chiefly by Thelonious Monk a more prominent role in Randy's in-person bass; Billy Co_bham. drums; Ph1_I Kraus. A1rto and Duke Ellington (fellow pianist-composers performances. Moirera. Azzedin Weston. percussion. plus back­ themselves inter-related). Weston has long u band of John Frosk, Alan Rubin, Marvin The tunes are all fine. particularly the s\amm. trumpets; Wayne Andre. trombone. bari­ since established himself as a composer of haunting ~/i-011<'-a typical Weston line. There tone horn; Garnett Brown. Warren Covington. melodic-harmonic-rhythmic structures in­ is no padding here. just music nf uncommon paul Fanlise. trombones; _George Marge, Romeo stantly recognizable as his and no one else's. Penque. reeds. flutes; David Horowitz. Moog syn­ beauty. The recording. especially of the thesizer; Madame Meddah. vocal effects; Don His pieces lend themselves to creative im­ horns. does it full justice. Sebesky. arranger. provisation -a fact that becomes evident A.fi'ica11 Cookhook was originally released when comparing Freddie Hubbard's work Rating:***** on Weston's own label.
    [Show full text]
  • Oct/Nov/Dec 2019 Vol 23 Issue 4
    Bimonthly publication of the OCT/NOV/DEC 2019 VOL 23 ISSUE 4 BLUE NOTES Jazz Dance shows including On the Town, West Side Story, The King and I, Gypsy, Peter Pan, Call Me Madam, and Fiddler on the Roof, among many other Broadway, film and ballet works. Robbins’ signature balletic style lent itself to the flights of fantasy, folk dance and street moves that made each of his jazz dances unforgettable Where to begin with Bob Fosse? Maybe with his groundbreaking jazz choreography for "Steam Heat" in Broadway's 1954 smash hit, The Pajama Game. Fosse himself was an American original, one of six kids who toughed his way through dance school as the only male in the class, picked up ballet, jazz, marching, cancan, gypsy dance, traditional English music-hall and a raft of other styles that found their way into his dances. His new style mixed the elegance of Fred Astaire with the ribald comedy of vaudeville Jazz, the dance, is as experimental, free form and burlesque. You can recognize Fosse choreography, made and fluid as jazz, the music. It's fusion, it's famous is such hits as The Pajama Game, Damn Yankees, inventive, it's exuberant. And, like the music, jazz Sweet Charity, How to Succeed in Business Without Really dance is a uniquely American art form with Trying, Pippin, Cabaret, Chicago, and All That Jazz, from a influences from everywhere. The smooth and mile away. Turned-in knees and toes, shoulder rolls, splayed or open curved hands, bowler hats, fishnet stockings, pelvic syncopated moves of jazz are always all about the isolations, a hinge from the hips, Fosse takes consummate performance.
    [Show full text]
  • Teaching and Learning Jazz Trombone Dissertation
    TEACHING AND LEARNING JAZZ TROMBONE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Julia M. Gendrich, B.S., M.S. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Dr. William T. McDaniel, Co-Adviser _______________________________ Co-Adviser Dr. Timothy A. Gerber, Co-Adviser School of Music Dr. Jon R. Woods _______________________________ Co-Adviser School of Music ABSTRACT The purpose of the study was to identify and assess methods of teaching and learning jazz trombone improvisation that have been implemented by jazz trombone professors. Its intent was to describe learning procedures and areas of trombone study. A survey instrument was designed after interviewing 20 professional jazz trombonists. The survey was pilot-tested (n = 9) and adjustments were made. Jazz trombone professors (n = 377) were sent questionnaires, with a response rate of 28 percent after an additional reminder to all and follow-up phone calls to one-third of the sample. Of the 106 total respondents, 58 were deemed to be eligible participants as both trombonists and as teachers of jazz improvisation. Three areas were explored: 1) early stages of development, 2) teaching, and 3) trombone technique. Data showed that most of the professors (77%) had learned to improvise between 7th-12th grades. They identified the most important method of learning for themselves as listening and playing-along with recordings. Learning occurred on their own for many, though college also had an impact. Schools (K-12) were not strongly rated as being helpful in the trombonists learning to improvise (2.49 on a scale of one to five), though schools did provide many jazz performance experiences.
    [Show full text]